SAAWARIYA was musical upsurge, a deluge of ethnicity woven in romanticism that brought back the feel of golden bygone era. It made the name of Monty Sharma prodigal prominence in musical circles and expectations were soaring high. Now the anti-climax! HEROES, CHAMKU, FOX and VAADA RAHA, all of his later mediocre releases that swept away the magical spells of SAAWARIYA and now all eyes are set on RIGHT YAA WRONG. This action packed thriller is writing back the names of big-wigs like Sunny Deol and Subhash Ghai in the marquee but the genre (action) hasn't fetched much musical surprises barring a WANTED. This Neeraj Pathak directed flick pitches Sameer as lyricist and so all we expect more of 'rights' and lesser of 'wrongs' in its musical contents. Just get started by plugging on 'play' button...

There is sense of tranquility; decorum of confluence of springy emotions when soothing baritones of upcoming Amitraj collides with somber textured arrangements in impressive sounding 'Mere Aashaon Ki'. Monty's finesse in anagramming of soft-pitched sounds makes waves in creating euphoric charade of happenings. Despite being sounding like overtly heard 90's Jatin-Lalit's composition, it works both in vocals as well as in composition to create metaphor of 'being-in-love'. Amitraj's voice (sounding similar to Abhijit) is a respite and also an asset for ears. Against the intense appeal of this flick, it makes a cool head-start of musical happening and also worth-a-hear attribute to the album.

Massy to the core, there is rhyming of words like 'shabab' and 'kebab' with 'dhol' beat synchronized drumming in setting pace for the item song 'Lucknavi Kebab'. Following the successful streak of nonsensical worded flashy tracks, this one too charters similar flights of 'all fun and no sense' amusement that can be outraged loud on festive treats. Master Salim (of 'Maa Da Ladla' (DOSTANA) fame) thrills out well in arrangements that impresses with customary sounding heavily loaded 'dhol' sounds set beat 'bhangra' thumps but lacks modernity in its display. The second version is predictable 'remix' version with higher 'beats per seconds' tempo that carries ammunition of 'club-house' remixing with moderate impact. Unlike Pritam's blitzkrieg 'bhangra-blasts' in recent few years, Monty's work is strictly situational and does not create any sort of hysterical upsurge.

What follows next is another situational 'bhangra' track with similar sounding arrangements in garish sounding 'Tiledar Dupatta'? Once again, Monty's composition works on heavily drummed 'dhol' beats in its entire three minutes duration with added spicing of hip-hop emceeing. Mika Singh throats out this loud along with underestimated Shail Hada (of 'Saawariya' (SAAWARIYA) fame) coming out as humble back-up vocal support. Sameer's lyrics are of typical 80's format and so do its outmoded composition that makes it as another situational item-song offering.

Like many Abbas-Mustan's stylized action-packed thrillers, the title track 'Right Yaa Wrong' comes out in intrinsically slick Westernized musical commotion. It prickles out in two versions and both works as added narrative supports or background scores. Ujjaini Mukherjee's screechy 'n' yelling tones in contours of hauntingly loud rock-beat arrangements comes out as the first version, exhibiting out the mosaic of all compelling moments. Ujjaini's trendy Indi-Pop binge moves aggressively with the intimidating appeal but there is nothing spectacular or creative that can spell out magic. Kunal Ganjawala's throaty connotations make the second ballistic vocal impact with similar set up of arrangements. Monty's makes permutations and combinations of overtly heard contemporary sounds, beats and rhythms to infuse melodramatic substance. This is strictly okay outing that gesticulates the happening and can be modest piece as promotional feature.

The last offering, 'Rihaee', a sad and melancholic rock-concert track by Kunal Ganjawala proves to be another mediocre soundtrack in continuation. The rock buzz is routine and the arrangements hardly offers anything youthfully peppy to fire up the floors. It is just another background score add, showing out the miseries of man desiring for freedom.

RIGHT YAA WRONG is rightfully average album with soundtracks ranging from garish item tracks to intimidating background scores with no major surprises. It wears an outmoded melodic appeal and falls miserably short of one chartbusting number. Amitraj's sung 'Meri Aashaon Ki' has soothing feel, two 'bhangra' numbers works to the massy needs while rest of them are simple add-on to the credits. Like last of few Monty's few musical releases, this one too adds to list of non-starters.